Brian Davidson Scottish Suite piano

Brian Davidson • Scottish Suite

Selected and Reviewed by Andrew Eales
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Scottish composer Brian Davidson has recently been on quite a roll, with his enchanting piano works appearing in a series of tastefully presented folios from publisher Kevin Mayhew.

Davidson’s intermediate collection Music Box came first, reviewed here, followed by his Nursery Suite, five original piano pieces aimed at late intermediate adult players, which evocatively reimagine traditional nursery rhymes, reviewed here.

Davidson’s latest publication is his Scottish Suite, and makes a very welcome addition to his expanding catalogue of intelligently written and musically rewarding music.

Subtitled Five Original Pieces for Piano, and again suitable for late intermediate players, this new collection will appeal to fans of Donald Thomson’s Celtic Piano Music series reviewed here, and all who enjoy musical portraits of Scotland’s scenery and heritage…

Introducing this collection, the publisher tells us,

The first pieces in the collection is Ode to Allan Ramsay, the early 18th-century Scottish poet and playwright considered one of the most important of his generation, inspiring Robert Burns, Sir Walter Scott and others. The piece paints its stark historical landscape with an angular but memorable tune, coloured with modal inflections.

This is followed by the beautiful By the Banks of the Tweed, which you can hear the composer himself performing in this video clip:

Bonnie Charlie’s Lament is by far the longest piece of the Suite, at seven pages. Davidson tells us that this dramatic ballad offers,

The mood shifts for West Linton Jig, a lively dance which celebrates the Borders village that the composer calls his home, and once more he has recorded a video of the piece for our enjoyment:

This Suite ends on a more reflective note with Air in Memory of Ronald Stevenson. One of the country’s leading musical figures of modern times, Stevenson was a hugely respected pianist and composer, and both the teacher and longstanding friend of Brian Davidson, who tells us of this musical tribute,

WIth its steady compound time flow, memorable tune, and pianissimo ending, the piece makes a conclusive end to the Suite.

Although it is not stated whether these pieces should be performed as a set or individually, I suspect this is because either approach would work well. Played in succession, and in the order presented, they would take performer and listener on a varied and vivid musical journey, but each piece offers its own charm and would make an enjoyable addition to any concert or performance exam programme.

Kevin Mayhew’s publication is a simple affair, but nevertheless has a classy presentation with a striking cover printed on matt card. Within, it is printed on bright white paper.

In addition to the title, contents and credits, the publication includes a biography of the composer and his notes introducing each of the five pieces.

The notation has been engraved by his aforementioned compatriot and fellow composer Donald Thomson, who has as ever produced an eminently clean score. There are no fingering or pedalling suggestions however, these being left to the performer or teacher’s discretion.

With this publication, Brian Davidson has again delivered music which is a joy to play, apt for both instrument and player, with deep roots in the composer’s musicality, performing and teaching experience.

The pieces certainly deserve a wide uptake, offering an attractive and memorable addition to the late intermediate repertoire. Let me conclude by agreeing with the publisher’s words:


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Published by

Andrew Eales

Andrew Eales is a widely respected piano educator based in Milton Keynes UK. His many publications include 'How to Practise Music' (Hal Leonard, 2021).